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Title Page
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Dedication
TRANSLATOR’S INTRODUCTION
PREFACE
TABLE OF TERMS
BOOK ONE - On the Relationship between Harmonic Ratios and Proportions
CHAPTER ONE - On Music and Sound
CHAPTER TWO - On the different ways in which the relationship between Sounds can be known to us
CHAPTER THREE - On the origin of Consonances and on their relationships
CHAPTER FOUR - Remarks on the properties of the Harmonic and Arithmetic Proportions
CHAPTER FIVE - On the origin of Dissonances and on their relationships
CHAPTER SIX - On doubled Intervals, and especially on the Ninth and the Eleventh
CHAPTER SEVEN - On Harmonic Division, or on the origin of Chords
CHAPTER EIGHT - On the inversion of Chords
CHAPTER NINE - Remarks on all the preceding Chords
CHAPTER TEN - Remarks on the different Ratios which can be given to a single Chord
CHAPTER ELEVEN - How to relate the Ratios given by the Divisions to the Vibrations and to the Multiplication of Lengths
BOOK TWO - On the Nature and Properties of Chords and on Everything which may be used to make Music perfect
CHAPTER ONE - On the fundamental Sound of Harmony and on its progression
CHAPTER TWO - On the Chords appropriate to fundamental Sounds and on their progression
CHAPTER THREE - On the nature and properties of the Octave
CHAPTER FOUR - On the nature and properties of the Fifth and the Fourth
CHAPTER FIVE - On the Perfect Cadence, in which the nature and properties of all the Intervals are found
CHAPTER SIX - On the Deceptive Cadence
CHAPTER SEVEN - On the Irregular Cadence
CHAPTER EIGHT - On the imitation of Cadences by inversion
CHAPTER NINE - On how to avoid Cadences while imitating them
CHAPTER TEN - On Chords by supposition with which we may also avoid Cadences while imitating them
CHAPTER ELEVEN - On the Fourth and the Eleventh
CHAPTER TWELVE - On Chords by borrowing with which we may avoid Perfect Cadences while imitating them
CHAPTER THIRTEEN - Rule for the progression of Dissonances, derived from the progression of fundamental Chords
CHAPTER FOURTEEN - Remarks on the progression of Thirds and Sixths
CHAPTER FIFTEEN - On occasions when the Seventh should be suppressed from the Ninth Chord
CHAPTER SIXTEEN - On dissonant Consonances, in which the Fourth is discussed together with the false idea of it that exists because of superfluous Rules
CHAPTER SEVENTEEN - On License
CHAPTER EIGHTEEN - Observations on establishing Rules, in which the method of composing a Fundamental Bass is taught
CHAPTER NINETEEN - Continuation of the preceding Chapter, in which it appears that Melody arises from Harmony
CHAPTER TWENTY - On the properties of Chords
CHAPTER TWENTY-ONE - On the Modes
CHAPTER TWENTY-TWO - On the origin of our liberty to pass from one Mode or from one Key to another
CHAPTER TWENTY-THREE - On the properties of Modes and Keys
CHAPTER TWENTY-FOUR - On Meter
CHAPTER TWENTY-FIVE - On the usefulness of this new way of indicating different Meters
CHAPTER TWENTY-SIX - On the number of Measures each Air should contain, and on their characteristic Movements
CHAPTER TWENTY-SEVEN - How to proceed when setting Words to Music
CHAPTER TWENTY-EIGHT - On Design, Imitation, Fugue, and on their properties
CHAPTER TWENTY-NINE - On those Intervals which should be classified as major and minor; as just or perfect; as augmented and diminished
BOOK THREE - Principles of Composition
CHAPTER ONE - Introduction to practical Music
CHAPTER TWO - On the Fundamental Bass
CHAPTER THREE - On the Perfect Chord, with which Composition in four Parts begins
CHAPTER FOUR - On the succession of Chords
CHAPTER FIVE - On several Rules which must be observed
CHAPTER SIX - On the Seventh Chord
CHAPTER SEVEN - Remarks on Dissonance
CHAPTER EIGHT - On Key and Mode
CHAPTER NINE - On how to Modulate harmonically when the Bass is given a diatonic progression
CHAPTER TEN - On the Basso Continuo
CHAPTER ELEVEN - On the progression of the Bass, which simultaneously determines the progression of the Chords; how we may relate a derived Chord to its Fundamental
CHAPTER TWELVE - Continuation of the Rules drawn from the preceding Example
CHAPTER THIRTEEN - On the Perfect Cadence
CHAPTER FOURTEEN - On the Leading Tone, and on how all Dissonances are resolved
CHAPTER FIFTEEN - On the Eleventh, called the Fourth
CHAPTER SIXTEEN - On the irregular Cadence
CHAPTER SEVENTEEN - On the different progressions of a Bass which are related to one another in such a way that the Harmony in the upper Parts does not change at all
CHAPTER EIGHTEEN - On how to prepare Dissonances
CHAPTER NINETEEN - On occasions when Dissonances cannot be prepared
CHAPTER TWENTY - A precise enumeration of the different progressions of the Bass, according to the different. Dissonances used there
CHAPTER TWENTY-ONE - On the Chord of the Second
CHAPTER TWENTY-TWO - On Keys and Modes in general
CHAPTER TWENTY-THREE - On how to pass from one Key to another; i.e., on how to Modulate
CHAPTER TWENTY-FOUR - Continuation of the Rules contained in the preceding Chapter
CHAPTER TWENTY-FIVE - How to know which Chords must be given to the Bass Notes in any progression
CHAPTER TWENTY-SIX - How to use the Seventh on every Note of a Key in a diatonic progression
CHAPTER TWENTY-SEVEN - How the same Dissonance may occur in several consecutive Chords on different Notes; how it may be resolved by Notes which appear to be foreign
CHAPTER TWENTY-EIGHT - On all Licenses, beginning with the Deceptive Cadence
CHAPTER TWENTY-NINE - On the Chord of the augmented Fifth
CHAPTER THIRTY - On the Ninth Chord
CHAPTER THIRTY-ONE - On the Eleventh Chord, called the Fourth
CHAPTER THIRTY-TWO - On the Chord of the augmented Seventh
CHAPTER THIRTY-THREE - On the Chord of the augmented Second and on its derivatives
CHAPTER THIRTY-FOUR - On Chromaticism
CHAPTER THIRTY-FIVE - On how to make use of everything we have discussed hitherto
CHAPTER THIRTY-SIX - On Composition in two Parts
CHAPTER THIRTY-SEVEN - On False Relations
CHAPTER THIRTY-EIGHT - On how to write a Melody above a Bass
CHAPTER THIRTY-NINE - On ornamented Melody or Supposition
CHAPTER FORTY - On how to compose a Fundamental Bass below a Treble
CHAPTER FORTY-ONE - How to compose a Basso Continuo below a Treble
CHAPTER FORTY-TWO - Useful Remarks concerning the preceding Chapter
CHAPTER FORTY-THREE - Rules to be observed in a Composition in two, three, and four Parts
CHAPTER FORTY-FOUR - On Design, Imitation, and Fugue
BOOK FOUR - Principles of Accompaniment
CHAPTER ONE - How to recognize the Intervals from the arrangement of the Keyboard
CHAPTER TWO - On the difference between major and minor Intervals; and between those which are perfect and those which are augmented or diminished
CHAPTER THREE - On the Position of the Hand and on the Arrangement of the Fingers
CHAPTER FOUR - On how to find Chords on the Keyboard
CHAPTER FIVE - Useful Remarks concerning all the Chords
CHAPTER SIX - On Keys and Modes
CHAPTER SEVEN - On the order which must be followed for the succession of Chords found within the Octave of each Key
CHAPTER EIGHT - General Rules
CHAPTER NINE - On the different Chords which should follow the Seventh Chord when the Bass Note remains on the same degree
CHAPTER TEN - On the Chord of the Second
CHAPTER ELEVEN - On Chords of the Sixth
CHAPTER TWELVE - On the Chord of the augmented Second and on its derivatives
CHAPTER THIRTEEN - On Chords by Supposition
CHAPTER FOURTEEN - Observations on the relations between all the preceding Chords
CHAPTER FIFTEEN - On how to prepare and resolve all Dissonances, from which we shall come to know the Key in use and the Chords which each Note of this Key should bear
CHAPTER SIXTEEN - On Chromaticism
CHAPTER SEVENTEEN - Recapitulation of the various successions of Chords
CHAPTER EIGHTEEN - Rules which are necessary in order to accompany properly
CHAPTER NINETEEN - On how to figure a Basso Continuo, and on how to know which Chords each figure denotes
CHAPTER TWENTY - How to tell which Bass Notes should bear a Chord
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